


Conversations Past Midnight

by Noëlle McHenry (Quasi_Detective)



Series: Project Eclipse [6]
Category: Original Work
Genre: Apologies, Audio Content, Audio Format: Streaming, Conversations, Creepy, Embedded Audio, Embedded Video, Gen, Late Night Conversations, Phone Calls & Telephones, Screenplay/Script Format, Trapped
Language: English
Status: Completed
Published: 2016-12-29
Updated: 2016-12-29
Packaged: 2018-09-13 02:25:33
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 3,296
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/9102355
Author URL: https://archiveofourown.org/users/Quasi_Detective/pseuds/No%C3%ABlle%20McHenry
Summary: Just an average episode of a late night talk show . . . or so it seems, until strange things begin happening, and the people on set find themselves trapped inside . . .





	

**Author's Note:**

> **Update (March 18th, 2018): Now turned into an audio drama!**

FADE IN:

 

INT. TALK SHOW SET – NIGHT

A simple talk show set with three chairs. One chair is stage left, turned to slightly face the other two, which are stage right beside each other. There is a large screen on the wall.

Cue entrance music and audience applause as the host, Charlie Gilliam, a 34-ish year old man with slicked back blond hair and a dark blue suit, enters from stage left in an upbeat manner.

The title card fades in, then back out.

CHARLIE  
(Shouting over the audience)  
Good night, and welcome to Conversations Past Midnight! I’m your host, Charlie Gilliam, and boy do I have a show for you tonight!

Charlie pauses and clasps his hands in front of himself.

The audience quiets down.

CHARLIE  
We all have secrets. Now, because of that, I’m sure we all know the sense of relief when we _confess_ to those secrets. It’s not always safe to do so, though. Why? Because people know you, stupid! It’s like walking into a subway and telling everyone you’re gay. Sometimes, secrets are better left untold, lest you destroy your reputation. People will tell you that if you really need to share a secret, you should probably talk to a family member, or a therapist. But, _pfft_ , who needs that? I’d rather just wait until Halloween and participate in The Grapevine! See, now, some of you are probably wracking your brains and really wanting to scream at me, “Charlie, what kind of drugs are you on?”

 The audience laughs.

CHARLIE  
“What in the _world_ is The Grapevine?” Well, those of you are in luck, because today I’ve got with me the founder of The Grapevine, Ron Wells! Come on out, Ron!

Enter Ron Wells, a short and stout man who looks to be in his mid-forties, from stage right. Ron, who is carrying a mask, approaches Charlie, who gestures back toward the seats.

CHARLIE  
Nice to meet you, Ron. Have a seat.

RON  
Don’t mind if I do.

Charlie sits on the left-most chair, and Ron sits on the middle chair. Ron puts the mask down on his lap. Charlie undoes the button of his suit blazer, revealing more of his dark red pinstripe tie and his light dress shirt.

CHARLIE  
Now, Ron, let’s not keep anybody waiting. Tell us about The Grapevine. What inspired it?

RON  
Well, to be honest, Charlie, the question of what inspired The Grapevine is a difficult question for me to answer.

CHARLIE  
We’ve got all night.

The audience laughs.

RON  
I guess it’s easier to explain to the viewers what exactly The Grapevine is first.

CHARLIE  
That would probably help, yeah.

The audience laughs again.

RON  
The Grapevine is a work in progress right now, but the general concept of it is to have it be an annual event, probably occurring on Halloween, in which participants gather together dressed exactly the same and wearing the same mask. The goal will be to keep yourself anonymous in a crowd of strangers, and to listen in to peoples’ conversations. You can use your anonymity to confess to your deepest darkest secrets, which will be the main goal of the event, but, see, there’s a catch.

CHARLIE  
Being?

RON  
Other people will have the option of identifying you, as you will to them. If someone in the crowd recognizes you, be it from your gait or something you’ve said, they will be able to walk up and tell you who they think you are. If they guess correctly, you’re out.

CHARLIE  
So, really, it’s about discretion?

Ron nods.

RON  
(In a low voice)  
Yes.

CHARLIE  
(Talking over Ron)  
Confess to your secrets, but keep in mind who you’ve previously confessed them to so that you won’t give yourself away?

RON  
That’s correct.

CHARLIE  
So what inspired you to start working on making The Grapevine a reality?

RON  
As you said, Charlie, we all have secrets, and it feels good to confess them. So, I thought, wouldn’t it be fun to be able to confess your secrets to strangers who, if you play the game correctly, will never know who you are? You could boast to people about some secret good deed you did and get the gratification of people knowing what you did it without running the risk of future consequences.

CHARLIE  
Or you could confess to something dark, like killing someone.

RON  
(Mostly amused, but slightly nervous)  
I suppose.

CHARLIE  
I guess now would be a good time to mention that I’ve never killed anyone.

Ron and the audience both laugh. Charlie chuckles.

CHARLIE  
But Ron, I have another question for you.

RON  
Shoot.

CHARLIE  
Wouldn’t it be possible for you to be identified by your voice?

RON  
(Shaking his head)  
No. That’s where the --

Both Charlie and Ron look toward Ron’s lap. The mask he brought in with him is gone.

RON  
Oh. I’m sorry, it seems I forgot to bring the mask with me.

CHARLIE  
(Flat voice from surprise/confusion)  
Funny, I distinctly remember you bringing it out and setting it on your lap.

The audience begins quietly murmuring amongst itself as Charlie and Ron continue to, confused, stare at where the mask had been. Finally, Charlie looks off-set.

CHARLIE  
(To Emmett, who is off)  
Could we find the mask?  
(Pauses. To Ron)  
Alright, uh, my director Emmett tells me we’ll find the mask. In the meantime, let’s take a caller or two.

Ron, still puzzled, absently nods.

CHARLIE  
Caller number one, you’re on the air.

ALICE  
(V.O.)  
Hi, Charlie. My name’s Alice Collingwood.

Fade in banner at bottom of screen: header “ **Alice Collingwood** ”, no subtitle.

CHARLIE  
Thanks for calling, Alice. Where are you from?

ALICE  
(V.O.)  
I live in Seattle.

Add subtitle to banner: “ _Lives in Seattle_ ”.

CHARLIE  
Seattle, nice!

The audience is silent. Charlie again looks off-set.

CHARLIE  
(To Emmett, who is off)  
You’re telling the audience not to cheer. Emmett, what --  
(Turns to the audience)  
\-- You know what, forget him. Come on, let’s hear it for Seattle!

The audience cheers reluctantly.

Ron seems vaguely uncomfortable, and he is slouched back in his chair.

ALICE  
(V.O.)  
Um, I have two questions for Ron about The Grapevine.

CHARLIE  
(To Ron, as to snap him from his trance)  
Ron.

RON  
(Sitting up)  
Yeah.

ALICE  
(V.O.)  
When do you think the event will be open to the public, and will there be an admission fee?

RON  
Those are some good questions. As of right now, we’re not sure when exactly the event will be open to the public. We have a lot of kinks to work out with the -- well, the point I was going to make about the masks is that they have voice modulators.

Charlie is looking off-set again, apparently listening to someone. He seems increasingly exasperated.

RON  
The voice modulators are set randomly per mask in an attempt to ensure that no one person will get the same voice twice. However, there are design issues right now, and the voice modulators make it rather stuffy inside the masks, but we’re working to make the masks more breathable. As for the admission fee --

CHARLIE  
(To Ron, sharp and quick, but polite)  
I’m sorry.  
(To his production team, who are off)  
What do you mean, Emmett left? He was just there. I was just staring at him a second ago. Where did he go? He’s my director, guys. Why would he leave in the middle of a live broadcast?

STUART  
(From off)  
I don’t know, he just disappeared.

CHARLIE  
(Sardonic)  
Well, did he take the mask with him or something?  
(Pauses)  
Don’t shrug at me, Stuart.  
(To Ron, apologetic)  
Sorry about that. You were saying?

RON  
Uh, as for the admission fee, that will all depend on how much money we will need to invest in renting a property for the event and for getting masks and suits for everyone. You will probably have to sign up in advance so that we can insure we have suits in your size.

ALICE  
(V.O.)  
Well, I for one can’t wait. I have so many secrets I need to get off my chest.

CHARLIE  
That’s great. We’re going to let you go now, Alice, and move on to another caller.

ALICE  
(V.O.)  
Alright, goodnight everybody.

Fade out banner. Charlie smiles at Ron.

CHARLIE  
Well, sounds like people are already clamoring to be involved with The Grapevine.

RON  
I’m really happy that’s the case.

CHARLIE  
Caller number two, you’re live!

THOMAS  
(V.O.)  
Hey there, Charlie! Is Alice still on the line? I heard her voice.

CHARLIE  
She isn’t, but do you know her?

THOMAS  
(V.O.)  
Know her? Hah! She’s my fiancée! I just proposed to her last night, and she said yes!

The audience cheers and applauds. Charlie and Ron clap as well.

RON  
How brave!

CHARLIE  
Great job, man! Can you tell us your name?

THOMAS  
(V.O.)  
Oh, of course, where are my manners! My name’s Thomas Arterburry, but everybody calls me Thom.

Fade in banner at bottom of screen: header “ **Thomas Arterburry** ”, subtitle “ _Alice’s fiancé_ ”.

CHARLIE  
Hey, man, it happens sometimes. I guess it’s fair to assume you live in Seattle as well?

THOMAS  
(V.O.)  
Hah, well, uh -- actually, not yet. I’m going to move there tomorrow to be with Alice, though.

CHARLIE  
Where are you calling from right now, then?

THOMAS  
(V.O.)  
Everett.

CHARLIE  
That’s not too far away.

THOMAS  
(V.O.)  
No, not really.

RON  
When’s the wedding?

THOMAS  
(V.O.)  
Excuse me?

RON  
When’s the wedding? Do you two already have a date set?

THOMAS  
(V.O.)  
Not yet. It’ll be soon, though. Probably next month.

CHARLIE  
Well, best of luck to the both of you!

THOMAS  
(V.O.)  
Goodnight, everybody. Oh, and Alice, if you’re still listening, I love you!

Fade out banner.

CHARLIE  
What a sweet man. Let’s give Alice and Thom a hand!

The audience does nothing.

CHARLIE  
Err, or not?

Enter Stuart, a scrawny man in a green pullover with curly brown hair and glasses, from stage left. He’s holding a script in his hands and he has large headphones around his neck.

STUART  
(Nervous)  
Charlie.

CHARLIE  
Stuart, we’re filming. Get out of the shot.

STUART  
Charlie, listen to me. This is important.

CHARLIE  
What is it? You realize that we’re live, right?

STUART  
Those people in the studio audience... Charlie, they -- they aren’t people!

CHARLIE  
I don’t understand.

STUART  
Something terrible just happened. Emmett’s disappeared, and -- you’re not going to believe this -- the door off of the set...

CHARLIE  
What about it?

STUART  
It leads to a wall! What kind of a door leads to a wall? That was the door out of the set, but it leads to a _fucking_ wall!

RON  
(Reacting to profanity)  
Whoa.

STUART  
Sorry, sorry. I just... I’m freaking out!

Charlie stands up.

CHARLIE  
Okay, but I don’t see how this has anything to do with the audience members not being people.  
(Turns to the audience, now facing the camera)  
You’re all people, right?

The audience does nothing.

Charlie looks at Ron, who stands up as well.

RON  
(Nervous)  
Look, if this is some sort of joke, it’s not very funny.

CHARLIE  
Do you think I had anything to do with this? I would never approve of doing something like this on my show. The audience reactions are always genuine. I don’t script for the damn audience.

STUART  
Well, not always.

CHARLIE  
Stuart, don’t you dare start with me. They are _always_ genuine.

STUART  
(Nervous)  
Yes, sir.

CHARLIE  
(To RON)  
New kid. Doesn’t know what he’s talking about.

RON  
(Uncertain)  
Sure.

STUART  
Charlie, what are we going to do? We’re locked in here!

CHARLIE  
This isn’t funny anymore, alright? Just cut it out. I’ve got to move on with the show.

Charlie gazes off behind Stuart to the production team, then looks back at the camera.

CHARLIE  
Actually, it looks like the rest of production is telling me it’s time for a commercial break. When we come back, we’ll have another guest with us: one of Ron’s pals in charge of the designs that will be used for The Grapevine who has some exclusive concept images for us. Don’t go away!

Cue brief music sting.

Camera switches from the stationary studio shots to handhelds being handled by the cameramen for potential behind the scenes footage.

When the sound effect ends, Charlie looks at Ron. They awkwardly shake hands.

CHARLIE  
Nice meeting you, Ron.

RON  
(Nervous)  
Thanks for having me.

CHARLIE  
Tell Darrin to come in when you leave.

STUART  
Charlie, you don’t understand! He can’t leave! The door to the dressing room is a dead end now!

CHARLIE  
Look, just cut it out, Stuart! Christ, I ought to fire your ass!  
(To Ron)  
Sorry about all this. I’ve got to duck back into the dressing rooms myself for a quick smoke break, so come on, I’ll walk with you.

The cameramen follow behind the three men as they begin to walk off to stage left.

Taking the place of Emmett is Brenton Long, a tall brunet man, and standing behind the sound booth is Wayne Barnes, a slightly-overweight bald man. Both Brenton and Wayne look concerned.

As they walk, Charlie casually wraps his left arm over Ron’s shoulders.

RON  
How long are commercial breaks?

CHARLIE  
Two minutes long, at least on this station.

RON  
Oh. That seems pretty long.

CHARLIE  
Maybe from the perspective of an impatient viewer, but it’s really helpful for us. Gives up more time to set up the next guest, and gives _me_ time to have a cig.  
(Laughs)

RON  
(Laughs with Charlie)

The two stop laughing when they pull open the door off of the set, which swings open to reveal a wall matching those that make up the rest of the room. They stay still and stare it at for a few beats, trying to process what they’re seeing.

CHARLIE  
What... What the hell...?

STUART  
See? I told you!

CHARLIE  
(Begins to laugh)

Charlie, still laughing, looks back toward the cameramen and his production team.

CHARLIE  
(Amused)  
This is a joke, right?

No one answers.

CHARLIE  
(Amused)  
This wall looks pretty real, I’ll give you guys that much, but...

He suddenly turns and tries to kick through the wall. Immediately after slamming it into the very real wall, he pulls his leg back and shouts in pain.

CHARLIE  
(Annoyed, perhaps a bit shrill)  
What the fuck, guys?

STUART  
(Panicking)  
We can’t get out! We’re gonna die in here, man!

CHARLIE  
(To Stuart, snapping)  
Just relax!  
(To Brenton, calmer, but still serious)  
Brenton, is there another way out?

BRENTON  
No.

CHARLIE  
Oh, goddammit.  
(Mumbled to self)  
Whose stupid idea was this?

Frustrated, Charlie begins to pound on the brick wall.

CHARLIE  
It’s solid.  
(Begins shouting, trying to be heard through the wall)  
Hello? Can anyone hear us? Darrin? Anybody? Get us out of here!

RON  
Can’t you break the wall down?

CHARLIE  
Do I look like a bulldozer to you? I just said, this wall is solid!

STUART  
(Nervous)  
What do we do?

BRENTON  
(From off)  
Sixty seconds before we’re on-air again...

Charlie looks at Ron. The show must go on.

CHARLIE  
I guess we just have to continue with what we’ve got.

STUART  
You can’t do that!

Charlie whips around to face Stuart.

CHARLIE  
You got a better idea?! I’ve got a show to host! We can deal with _this_ after the episode’s done!

STUART  
But, the audience --

CHARLIE  
I’m doing this _for_ the audience!

Charlie turns back to Ron and pats him on the shoulder.

CHARLIE  
Come on, let’s get back on set.

RON  
Are you sure?

CHARLIE  
Yeah. Never mind Stuart, he’s always been a bit of a supernatural fanatic.

STUART  
(Pleading)  
Charlie --

CHARLIE  
Shush! You’re fired.

The cameras follow Charlie and Ron back to the set. When they sit back down, the cameras switch back to the live show cameras.

Cue entrance music and title card fade in.

Camera switches to one closer to Charlie’s face as the music and title fade out. Charlie seems vaguely uncomfortable, but he does his best to remain professional, ignoring a strand of hair that has fallen into his face.

CHARLIE  
Welcome back to Conversations Past Midnight. I’m your host, Charlie Gilliam. Unfortunately, due to difficulties, it seems our next guest will be unable to join us. So, I shall continue my conversation with Ron Wells, the founder of The Grapevine.

Charlie looks at Ron.

CHARLIE  
Ron, would you do the honors of providing a recap of just what The Grapevine is?

Ron is staring at the audience, eyes and mouth wide in mute apprehension.

Charlie fidgets a bit in his seat. Why isn’t Ron talking?

CHARLIE  
Ron?

Ron, still distant, turns his head toward Charlie.

RON  
(Confused, quiet)  
What?

CHARLIE  
A recap? Of The Grapevine?

Ron is quiet for a few seconds before he shakes his head.

RON  
Right... It, uh... The Grapevine is... an upcoming event.

Charlie waits, leaning slowly closer as he anticipates Ron’s next words. However, the man says nothing.

CHARLIE  
And?

RON  
(begging)  
Look, I -- I just want to go home! I have a wife and daughter!

CHARLIE  
Ron, the recap!

RON  
I have a family!

CHARLIE  
We’ll get out of here! Just continue the show!

STUART  
(From off, terrified)  
Guys!

Charlie again whips his head around, looking off.

CHARLIE  
(Roaring)  
What?!

Charlie’s face drops from fury to shock when he notices that both Brenton and Wayne are gone.

Switch back to handheld cameras, turning to reveal Stuart standing beside the empty production booths.

STUART  
(On the verge of hysteria)  
They’re gone...! I told you something was going on! We’re not going to be able to leave! We’re gonna die here!

Back to stationary cameras.

CHARLIE  
That’s nonsense! They couldn’t have just up and disappeared!

Ron pulls out a cellphone and starts pushing keys on it. Charlie looks at him, then down at his phone, and then back up at his face.

CHARLIE  
What are you doing?

RON  
I’m calling the police.

Ron doesn’t have service on set, and this makes him agitated.

RON  
(Desperate)  
No, no, no! Connect!

Charlie looks back at Stuart, only to discover the young man is gone.

CHARLIE  
Stuart? Stuart, you little shit, where the hell did you go?!  
(Growls in frustration. To Ron)  
Can you believe the nerve of --

Charlie turns back around. Ron is gone as well. He is now alone with the silent audience. He looks left, then right, then stands up and steps closer to the edge of the set and looks in both directions again. He’s terrified.

CHARLIE  
(Nervous)  
Ron? Stuart? Anyone?

The audience proceeds to give Charlie a loud standing ovation, startling him. They enjoy his fear. They enjoy seeing him lose control of his emotions. They take a sick satisfaction in seeing that he’s only human.

CHARLIE  
Why are you applauding? Stop it! Stop clapping!

The audience ignores his pleas, knowing that the more they disobey him, the more emotion he will reveal.

CHARLIE  
Stop!! _STOP CLAPPING!!_

The audience continues.

CHARLIE  
_WHAT DO YOU WANT FROM ME?!_

The audience cheers.

Charlie stumbles backward, falling back into his chair. After a few seconds, he leans forward to speak, a vacant look of horror on his face, and the audience gradually comes back to silence.

CHARLIE  
(Serious, grim, as if he’s certain he’s going to die, and that these will be his last words)  
My name is Charlie Gilliam. Bridgette, if you’re watching this, I want you to know that I’m sorry for what I did. I was a fool to mistreat you. Tell my family that I love them. I love you, Bridgette. I’m so sorry.

The audience boos.

CHARLIE  
(Guilty, emotional, and pleading)  
Please forgive me, baby.

CUT to BLACK.

END.


End file.
